Are re-blogged links the blogger’s version of the sitcom flashback episode? Uh, maybe, but in any case, here’s a partial and purely subjective roundup of the past week in art, culture, etc. in Chicago and beyond, via a whole mess o’ handy links, of course….
*New City art editor Jason Foumberg has a nice recap along with some thoughtful analysis of last week’s “The Invisible Artist: Creators from Chicago’s Southside” panel discussion at the School of the Art Institute. UPDATE 4/4: There is some very interesting, enlightening, and pretty damn sharp back-and-forth going on in the comments section of this article by panel participants and others who strongly disagree with (or have misunderstood) Foumberg’s assessment of the panel and the issues it addressed.
*The mass firings of adjunct fine art faculty at Parsons The New School for Design: blogger Hrag Vartanian’s coverage has been some of the most thorough thus far. Check out his posts here, here and here as a start.
*Time Out Chicago writer Lauren Weinberg has a piece this week on the ways in which Musuems in Chicago and elsewhere are using social media.
*Big yawn: on the Twitter front, an update on @platea’s Twitter happening I blogged about a few weeks ago. UPDATE 4/4: NewCity reported on what happened during the Twitter Island project discussed in that same blog post, here.
*Via C-Monster: The Architecture of the Drug Trade. A fascinating look at the landscape of weed and the architecture of the grow house. Especially loved the comparison of the latter to Max’s bedroom in Where the Wild Things Are.
*Paddy Johnson of Art Fag City writes for The L Magazine on why Jenny Holzer is not the patron saint of Twitter in her review of Holzer’s Protect Protect Project, which originated at the MCA and is now at The Whitney.
*And finally, the hermeneutics of “pin diplomacy”: via Artnet Magazine, Madeleine Albright’s pin collection to be shown at the Museum of Arts & Design in New York. Pins weren’t mere jewelry for Albright, they added a subtle layer to her diplomatic efforts. She wore a bee pin when talks were getting pointed, a balloon pin when she felt hopeful, and a snake pin after Sadaam Hussein’s people called her a serpent. I’m so there!
For those of you who’ve been following MOCA’s meltdown (see sidebar links to Meg’s previous posts on this subject) and the Rose Art Museum’s deaccessioning debacle at Brandeis, there are a few interesting updates of the linkie sort I’d like to draw your attention to, in case you haven’t already seen them.
First, in the ‘where are they now’ category: two extensive, multi-part interviews with major MOCA players, one still hanging in there, the other out the door in a flash, have appeared within the last couple of weeks over at the Arts Journal blogs. Tyler Green of Modern Art Notes posts a four (!)-part interview with MOCA senior curator Paul Schimmel on the future of the institution, which sounds super-rosy and no less ambitious than before, according to Mr. Schimmel. Find ‘em here: Part one, part two, part three, and part four.
Next, there’s CultureGrrl aka Lee Rosenbaum’s two-part interview with Jeremy Strick about his post-MOCA post as the new director of the Nasher Museum: part one of her interview can be found here; part two, here. Strick seems to have landed very well, I must say; there’s hardly a speck of dust on him.
Lastly, the latest on The Rose Art Museum. From my understanding of the state of things now (mostly via this post on The Art Law Blog, which I got to via this one on Art Fag City), Brandeis has backpedaled from its original plans to sell off the Museum’s collection–now they’re saying that only “a limited number” of pieces will be sold “if the need arises in the future.” It’s anyone’s guess as to what’s true and what’s p.r. spin, but tonight, Monday March 16th, a symposium titled “Preserving Trust: Art and the Art Museum amidst Financial Crisis” will take place from 6:30 – 8:00 pm at The Rose Art Museum. You can view the discussion in real time, as it will also be streamed live, and posted on YouTube afterwards. Here’s an excerpt from the Symposium blurb:
This symposium is prompted by the global controversy over the recently proposed closing of Brandeis University’s Rose Art Museum and the selling of some or all of its permanent collection of modern and contemporary art, in order to meet general university financial needs. At a time of financial crisis, what is the utility of art and of museums, in universities and in other contexts? Is art the most dispensable and disposable of assets when times are tough? Conversely, might art and museums be understood as especially valuable at moments of economic and social distress, helping to remind a society of its core values, exposing citizens to cultural difference, and providing vital spaces for community-building and democratic debate?
- Claire Messud
- Robert Pinsky
- Stephen Greenblatt
- Katy Graddy
- Dirck Roosevelt
- Andreas Teuber
- Brian Friedberg and Liz McDonough
Moderator: Mark Auslander
Note: The proceedings will be streamed live on the Cultural Production ustream channel, and also posted on YouTube. Co-coordinators: Mark Auslander, Dirck Roosevelt, Ramie Targoff, Andreas Teuber
There’s been some commentary on other art and culture blogs about this, so maybe we should get into it too: The Art Institute has raised its price of admission by 50%. Now, the general public will pay $18, seniors and students pay $12, up from the $7 it was previously.
There have been a few good pieces on this issue written elsewhere over the past couple of days; in particular I liked Tyler Green’s post over at Modern Art Notes, Museum cannibalism: pricing out visitors. Green points out that Chicago museums are more reliant on admissions revenue than are institutions in other cities, but nevertheless decisions like this make it much harder for average folks, especially younger demographics, to make museum-going a regular thing. Salient quote:
“Museums could do lots of things to avoid pricing out visitors. Trustees could give more. Foundations could give more. Museums could cut more staff. But the last thing they should do is raise admissions charges and inhibit public access to art at a time when we need it most.”
EDITED TO ADD: Someone rightly pointed out that there’s more to the admissions story: free days! Here they are, straight from the Art Institute’s web site:
- One late evening per week (Thursdays after 5:00 p.m.) throughout the year
- Two late evenings per week (Thursdays and Fridays after 5:00 p.m.) during the summer (May 31 to August 31)
- The entire month of February
- The week of the opening of the Modern Wing, from May 16 to May 22, 2009
Go directly to the Art Institute’s visitor page for even more details. Plus, children under 12 will continue to get in free of charge, and there will no longer be a charge for special exhibitions or coat check.